I seem to have acquired a lot of eurorack delays. So I thought, let’s make some demos. These are however a lot of work. I also note I have a lot of dust on my modular! But anyway: here is the first: a demo of the Analogue Systems RS-390 echo (digital delay). I got bored with filming the synth itself, so I added a few shots of the vegetable patch on my balcony … Probably next demo will be the Pittsburgh Analog Delay. But don’t hold you breath, this may take a while.

The Telemark (under the ObieRacks) is providing the backing pitchy, swooshy f/x, and you’ll see the binary inputs of the Oberkorn being patched — which creates new patterns on the TM in binary fashion.

The ObieRack has a master filter cutoff (for both SEMs) that is adjusted during the video. Additionally, the SEMs are switched to bandpass mode for some variety in the sequence.

No overdubs, no FX, no frills — just a quick recording of the dry/raw juicy analogue sounds.

This demo features a variety of sound types and sequences (traditional and non-traditional) demonstrating the Vostok’s sound palette and variety of timbres. All sounds, with exception of the obvious acoustic drums (used for context), are created on the Vostok using either traditional patching or the pin matrix — or a combination of both.

Sounds are being driven by either the on-board sequencer, MIDI sync (via GATE to CLOCK), or direct MIDI connection to a controller keyboard.

Emphasis for this video was more traditional synth sounds (basses, leads, sequences) as there are plenty of non-traditional (fx, ambient, noise) sound demonstrations on YouTube. The filter section at the heart of the Vostok was also a focal point of this video and is tweaked extensively for the various sound types.

Also, see the Telemetry (mini Vostok) in action at the following link:

Here’s a first look at the Analogue Solutions Telemark V2.0 synthesizer. The new release features the addition of a SUB OSC / DIVIDER as well as a RING MOD. The inclusion of these two sound sculpting elements have a vast and powerful effect on the overall sound of the TM.

As usual, the Telemark is being sequenced via the Oberkorn MK3 analogue sequencer (black face). The AS CVQ02 Quantiser was also used between the Oberkorn and the Telemark for some of the more melodic sequences heard. Transposition was done via MIDI.

The AS Spring Reverb module also makes an appearance serving processing needs for the TM.

At video end, a live melody is played atop a sequenced (Oberkorn) TM synth line.

An Abstract Electronic solo piece sequenced in 5/4. The Phobos (aka Analogue Solutions) Red Square Semi modular mono synth is choosing most of the tones through it’s Sample and Hold circuit. Rhythmically driven with 10 step sequencer modulating LFO frequency clock speed in steps which is sent to the S&H modulating the the cut off freq and pitch. Note values are all contained or tied within subdivisions of an eigth note (16ths, eighth note triplets, 32nds, eighth note quintuplets, and some faster) in 5/4 time. Notes that hold or sustain always begins on an eigth note value in 5/4 time, whether or not if it’s carried over the barline. The midi clock is never interupted, but counting bars isn’t the intent here, without any intentional bar markers, it opens up the minds perception of the quintuplet family of notes in contrast to space. Rather than having an obvious 5/4 structure, the mind defaults to 4/4 perception, thus making the eigth notes perceived as permutations of eighth note quintuplets, becoming the perceived base note being subdivided.

a 4 step sequencer modulates pulse width at times. playing SD-1 keyboard strictly as a midi controller. No overdubs, one live performance,with some Lexicon MX300 spring reverb added.

Scene: Year 7800, Location: In the sands of Massachusetts, in an area formally known as technology highway. Explorers discover remnents of circuit boards and believe it to be a lost language or art.

Note: Circuit boards shown are not of the Red Square’s internal boards.